With the Suzuki method, as introduced by the Japanese Dr. Shinichi Suzuki, children start at a very young age, generally three, and are taught by rote, being too young to read notes. Parents attend the lessons to learn themselves and, thereby, monitor and encourage their children’s home practice.
The lessons continue until the children can read notes while the lessons focus on both the musical process and character development which lays emphasis on the growth of the students as poised, thoughtful, caring human beings.
The concert last week opened with a Korean cello ensemble of eight members interpreting Villalobos’ Prelude with one single and conspicuous quality: perfect synchronization.
Boccherini’s Cello Sonata No. 6 (first movement) was rendered by 13-year old Park Yeo Won. Nine-year old Chai Ji Soo, a pupil of Conductor Hwang Kyung Ik, played in turn Mozart’s Concerto for Violin No. 5 (first movement). Highly musical, self-assured, possessed of sensitivity and considerable technical skill, the child proved to be a revelation. Choi Min Ji, 13, essayed St. Saens’ Concerto for Violin no. 3 (third movement) with flair, and two teachers Kim Jung Eun (first violin) and Kwak Eun Soo (second violin) played with notable proficiency, as to be expected, Vivaldi’s Concerto Grosso, Op. 3, No. 8. Came another remarkable number after that of the nine-year old wonder Chai Ji Soo: The Korea Suzuki Students Orchestra performance of Tchaikowsky’s Serenade in E Major. I had never heard a more gratifying local rendition of the work than what I was listening to that evening, with its sweep and flourish, and the robustness of the strings which were cohesive in the most tight ensemble work. Pianist Kim Shin Hee was the assisting artist throughout except for the number by Chai Ji Soo who was accompanied by the students orchestra conducted by her mentor, Prof. Hwang Kyung-Ik.
After intermission, six-year old Filipino Patrick Sy played Beethoven’s Piano Sonatina in G (first and second movement) with spirit and flair; 13-year old Franco Lorenzo Liwanag, accompanied by the Korea String Ensemble, essayed Haydn’s Piano Concerto in D (first movement), his notes crisp and sparkling, his technique secure.
The Filipinos and the Koreans then teamed up, starting with eight cello players in Saint-Saens’ The Swan. The young violinists took over, increasing for each number until the entire stage could hardly contain more players. They essayed Mendelssohn, Bach, Vivaldi, Dvorak, Schumann, Handel, Bach, with the pieces gradually becoming simpler and ending with a nursery rhyme. The marvel of it was whatever the piece, synchronization was excellent. Everyone began and ended at the same time – which, of course, was a great justification for the Suzuki method. Pianist Carolyn Kleiner Cheng was the assisting artist.
Dean Sr. Maria Anunciata Sta. Ana and University President Wynna Marie Medina, Conductor-Professor Hwang Kyung-Ik, Professor Carmencita Guanzon Arambulo, and violin professor Jeong Cheol Wong organized the concert.
Emcees were Rica Arambulo and Robert Urgino. One of them attributed the competence of the players to the Suzuki method. Well and good. However, given two Suzuki students, the one more inherently gifted will expectedly reach greater heights.
There were the impressionistic Introduction et Allegro by Ravel, the charming Philippine Airs by the versatile, celebrated international concertist Raul Sunico, and tangos by Astor Piazzolla whom, I believe, was introduced here by legendary pianist Nena R. Villanueva.
The tangos, namely Le Grand Tango, Adios Nonino and Libertango – not quite the ones you hear on the dance floor – with its "variety of contemporary techniques; clusters, pizzicatos, multiple glissandi" were infused with zest, energy and vigor. The lusty applause brought on an encore, another tango, to which an unannounced pair danced elegantly, thus proving convincingly that Piazzolla’s tangos, despite his brilliant innovations, remain as "danceable" as ever.
With its varying, seductive rhythms, its elements of "the lyrical, the sentimental, the garish, the lusty, the improvisatory, the humorous and the frenetic," Copland’s El Salon Mexico was enthusiastically received, Mexican music having a strong affinity with Spain’s own which Filipinos admire and love.
Poulenc’s Concerto in D Minor, a "slight but highly ingratiating work", and one of Poulenc’s most frequently heard compositions, "is in his finest witty vein, full of simple and droll rhythmic effects, many of which belong to the music hall rather than the concert auditorium." Precisely because of its light-hearted mood, it was highly appreciated.
We earnestly hope Besa and De Guzman will continue to enchant music lovers with their "Duettos".
Roxas’ composition "Halos" set the tone for a lively, convivial evening. The versatile Pacis rendered De Falla’s El Pano Moruno, Nana and Cancion with a soft, controlled voice, this breaking out powerfully in Villa-Lobos’ dirgeful song without words, Bachianas Brasilerias. Lu-maas’ Rocky Samba focused on his superbly nimble fingers; The Dry Cleaner from Des Moines showed Tidon’s skill. Throughout, Roxas was giving tremendous support and playing his own brilliant solos.
Piazolla’s Libertango constituted a new, fascinating experience, and the closing jazz piece set the house on fire.
Ambassador Weishaupt lent his own brand of singular excitement with his concluding remarks in fluent Tagalog.